A large part of my ten-day vacation was about taking care of the cat problem (which I alluded to in a recent “notable news” post). Just for the fun of it, yesterday I edited a short video showing the extent of the problem. They are cute but that many cats is just too much. Now that they are captured, we just have to find them new families where they can have a happy and meaningful life. That’s the hard part since, as I said, our only official option is the Berger Blanc (and it’s quite frustrating that the city bylaws threaten us of fines for having stray cats CHOOSING our backyard but doesn’t offer any help whatsoever; we’re on our own [link, Gazette, CTV, Animosource]). Hopefully, we’ll find someone to adopt them, maybe some refuge willing to take them or find a way to deal with the SPCA. Anyone interested?
The video is also available on Vimeo. At the same time, this video showcase the capability and usefulness of the Nest Cam (I really love them).
Hommage à Laure —
Faire le tour de sa vie en 180 images
Pour honorer sa mémoire
Après lui avoir rendue hommage avec des mots, voici un hommage en images à la vie de ma mère, Laure Gauthier, décédée d’un cancer le dimanche 5 mars 2017. Elle avait quatre-vingt-sept ans et a eut une belle vie bien remplie qui mérite d’être célébrée et commémorée. Puisse-t-elle continuer à vivre dans nos souvenirs…
The Holidays and the couple of weeks that followed were rather quiet. Thankfully, I had to deal with much less craziness at work. But that was only the eye of the storm and those depressing days (scientifically certified as such since Blue Monday fell on January 16th this year) are coming to an end. The days are getting longer and more shit will soon hit the fan. Of course, there’s also this endless American nightmare with everything Trump. I wish I could forget about all that and never hear about it again, but unfortunately that’s what the world has become now.
I’ll try to reinvent myself this year (so much to do) and push forward even harder on the path to improve my temperament and expend my knowledge. That’s the only purpose one can have.
Despite everything, I tried to stay acquainted (a bit) with the affairs of the world. Here’s a “few” notable news & links that I came across this month and that I’d like to share with you, after the jump (in no particular order, in both french and english): Continue reading →
While watching the news on NHK World earlier today, I saw a report on a new anime movie that sounds quite interesting. Based on a manga by Fumiyo Kōno, this historical animated drama tells the daily life of young newly wed Suzu in the Japanese countryside of Kure during the years leading to WWII.
In This Corner of the World (この世界の片隅に / Kono Sekai no Katasumi ni): Japan, 2016, 130 min.; Dir./Scr.: Sunao Katabuchi; Anim. Dir.: Hidenori Matsubara; Char. Des.: Hidenori Matsubara; Mus.: Kotringo; Prod.: Masao Maruyama (MAPPA), Taro Maki (GENCO); Voice cast: Rena Nōnen (Suzu), Yoshimasa Hosoya (Shūsaku), Natsuki Inaba (Harumi), Minori Omi (Keiko), Daisuke Ono (Tetsu), Megumi Han (Sumi), Shigeru Ushiyama (Entaro), Mayumi Shintani (San), Nanase Iwai (Rin).
Before the screening of the first movie, A Tale of Samurai Cooking, the attendees were treated with a few canapé and a degustation of sake. There was a presentation by the a staff member of the Japanese consulate in Montreal, followed by allocutions of the Cinémathèque general director, Marcel Jean, and the Consul General in Montreal, Hideaki KURAMITSU.
“Haru has an excellent sense of taste and unsurpassed skill in the kitchen, but her impetuous character leads to her husband asking for a divorce after only a year of marriage. One day, she is approached by Dennai Funaki, a samurai chef from Kaga, to marry his son and heir, Yasunobu.”
“Serving the Lord of Kaga not with the sword, but with the kitchen knife, the Funaki family has been known as “Kitchen Samurai” for generations. However, Yasunobu’s lack of culinary skills has placed the Funaki name in peril. To save her new family and its status as “Kitchen Samurai”, Haru decides to teach her new husband the refined art of Kaga cuisine from her point of view. Inspired by a true story.”
“A heartwarming drama based on Miri Masuda’s comic strip series, Sue, Mai & Sawa: Righting the Girl Ship offers a warm and tender depiction of the lives of three women, former colleagues whose friendship has endured over the course of 10 years. Now in their thirties, the three friends each harbor anxieties about their future, their professional paths, their love lives, and their family ties.”
WARNING: May contains trace of spoilers! People allergic to the discussion of any plot’s elements before seeing a movie are strongly advised to take the necessary precautions for their safety and should avoid reading further.
This movie is based on a joseiyonkoma (4-panel comic strip aimed at an adult female readership) by Miri Masuda. This style of comic is very popular in Japan. Sū-chan “follows the daily lives of women who deal with their anxieties regarding love and work”. It is published by Gentosha and “has sold over 280,000 copies” (up to March 2013). Four volumes have been released between April 2006 and November 2012 (the first volume came out in paperback in August 2009; a preview of the first six pages is available online — opposite: pp. 4-5). (Sources: ANN, Wikipedia Ja)
The movie adaptation, titled Sue, Mai & Sawa: Righting the Girl Ship, is a typical Japanese feel-good movie. However, despite the light tone, it seriously tackles the anxieties of Japanese single women. It tells the story of three women in their thirties who find themselves questioning their life situation and how they more or less succeed to find happiness.
Yoshiko Morimoto, nicknamed Sue-chan, is 34-year-old and works in a coffee shop where she can put to use her talent for cooking. She has feeling for the manager, but her hesitation prompts a younger, more aggressive colleague to secure his love before she can do anything. However, the owner ends up offering her the manager position. She’s insecure at first and makes mistake, but she slowly grows into the responsibility. She has good wisdom and is a great help to confort and give advise to her friends.
Maiko Okamura, nicknamed Mai-chan, is a 34-year-old office lady working in the sales department of an OA manufacturing company. She is stressed by the pressure at work and frustrated with the fact that her affair with a married man is going nowhere. When her dermatologist suggests that she should give up on some of her life’s problems, she decides to dump her boyfriend and registers with a marriage agency. One year later, she is married and pregnant. However, she worries that motherhood would change her, but finally learns to say goodbye to the woman she was and accepts whom she has become.
Sawako Hayashi, nicknamed Sawa-san, is a 39-year-old web designer. She helps her mother take care of the grandmother who’s bedridden and suffers from dementia. She worries that if she ever marry she would leave her mother to do the care-giving by herself. She meet by chance a former classmate and starts going out with him, but when he appears more concerned with having a descendance and requests a “fertility certificate”, she gets angry and dumps him. She comes to term with having to take care of her grandmother.
The movie feels a little like a sketch comedy in the beginning, but it quickly gets structured into a more uniform storytelling. It might have been intentional, in order to allude to the original 4-panel format which is, by definition, a series of short stories ending with a punch. Food is also a recurring theme in the movie (and a theme shared by all three movies screened at the festival this year) as the friends always gathered around a meal to discuss their problems. But since Ozu it seems that food and meals has been a frequent theme in Japanese movies.
All in all, Sue, Mai & Sawa is an interesting movie that provide some reflection about life and a good entertainment.
Sue, Mai & Sawa: Righting the Girl Ship (すーちゃん まいちゃん さわ子さん / Sû chan Mai chan Sawako san). Japan, 2013, 106 min.; Dir.: Osamu Minorikawa; Scr.: Sachiko Tanaka (based on the 4-koma by Miri Masuda); Phot.: Gen Kobayashi; Prod.: Yoshitaka Takeda; Cast: Yôko Maki, Shinobu Terajima, Kou Shibasaki, Shota Sometani, Arata Iura, Hana Kino, Gin Pun Chou, Akiko Kazami, Megumi Sato, Mio Uema, Aoi Yoshikura, Ai Takabe.
“Cette exposition présente une collection particulière d’exception qui comprend plus de quatre-vingt-dix estampes et affiches, couvrant presque toute la période de la production lithographique de Toulouse-Lautrec, de 1891 (…) à 1899.”
Même si on y retrouve que les affiches de Toulouse-Lautrec (pas de peintures), c’est tout de même très intéressant. Lautrec était vraiment un illustrateur de talent. Toutefois, c’est une petite exposition qui ne comprend que quelques salles et j’en ai donc fait le tour assez rapidement (en un peu plus d’une heure). Comme à mon habitude, j’ai photographié les pièces de l’exposition qui m’interpellaient le plus afin de garder un petit souvenir de ma visite.
Voici un bref diaporama des mes photos que j’ai converti en video sur Vimeo:
To complete our coverage of the festival, here is the video for the Red carpet arrival of director Yoshinari Nishikori, actors Naoki Kobayashi and Sho Aoyagi for the Japanese movie Tatara Samurai screened at the Montreal World Film Festival on August 29th, 2016: